I like the term "cockroach rule"! I'm going to use that from now on. (I have written SO MANY bad melodies that snowball in that way. It wasn't until I read Schoenberg's book on composition that I understood what I was doing and how to fix it.)
Thank you so so much for all your videos. I had read and watched many counterpoint books and videos and never found anyone explaining it in such a clear, entertaining and practical way! I was wondering, in the last examples from 8:42 there is a 6-5 suspension on the second bar. It is not listen on the suspensions list from the fourth species video. Would not that suspension imply two different chords during the second bar? I am wondering whether it is a common suspension or it's better to use it with care. Thank you so much for all your effort!
Hello! I have some questions to ask: - At 3:45, it's mentioned that the dotted half notes help the quarter notes to begin on a weak beat, which helps to maintain rhythmic fluidity. But I find "rhythmic fluidity" to be a rather subjective concept - I don't see why you can't start the quarter notes on the on-beat in Bar 3? What would be wrong with that? - At 6:00, for example f, what do you mean when you say "the G-sharp does not resolve the High C?" What would be a note that resolves the high C then?
By rhythmic flow in counterpoint it’s usually consider that the longer note value needs to be in a strong beat, the original one where B and D are in quarter note and B as a quarter stays in a strong beat then immediately has a leap to D, that’s not a good sign in here. It might be good on a piece of music, but remember we’re in counterpoint, and it has a much restrictive rule than just putting a random argument 2nd like any Mozart pieces. For the C, that C should just not be there, the G sharp and then the large leap creates a bump like he says in the video. Even with the interval between B and C with a major 2 and resolve into Major 6 (which you should, because 2 is dissonance and 6 is consonance), the C is just really like an extra and it just hangs there without any linear connection towards G sharp. How it can be fixed is if you just write a new counterpoint line with B instead of A like the video shows, but that’s a different story.
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Such a great series of introducing counterpoint...Thank You Mr Belkin for the effort in making this series and for sharing it!:)
I like the term "cockroach rule"! I'm going to use that from now on.
(I have written SO MANY bad melodies that snowball in that way. It wasn't until I read Schoenberg's book on composition that I understood what I was doing and how to fix it.)
You are teaching very good, its helps a lot, thenk you! :)
Thank you so so much for all your videos. I had read and watched many counterpoint books and videos and never found anyone explaining it in such a clear, entertaining and practical way!
I was wondering, in the last examples from 8:42 there is a 6-5 suspension on the second bar. It is not listen on the suspensions list from the fourth species video. Would not that suspension imply two different chords during the second bar? I am wondering whether it is a common suspension or it's better to use it with care.
Thank you so much for all your effort!
Nor Fux nor Goetschius could explain with such clarity. Thank you!
... this is so eye-opening ...
What the… The map at 09:15 is of the town in Sweden where I grew up - Jönköping. What are the odds of a canadian using that? O.O
The guy who does the graphics is married to a Swedish woman. :-)
Alan Belkin Small world! If they are living there, tell them my new orchestral work is premiered 3 november. 😂
Another Jönköping born fan represented! :)
Thank you Alan!
What is the intro song you always use?
Thank you so much😊
i love couterpoint
But what exactly are the "rules" for introducing sharps and flats in the melodic lines?
It's just harmonic/melodic minor.
In the example at 3:06 , shouldn't the F in bar 4 resolve down?
It's a dissonant neighbor note on a weak beat. The consonant G that follows is able to make up for it.
Is this two part counterpoint?
Hello! I have some questions to ask:
- At 3:45, it's mentioned that the dotted half notes help the quarter notes to begin on a weak beat, which helps to maintain rhythmic fluidity. But I find "rhythmic fluidity" to be a rather subjective concept - I don't see why you can't start the quarter notes on the on-beat in Bar 3? What would be wrong with that?
- At 6:00, for example f, what do you mean when you say "the G-sharp does not resolve the High C?" What would be a note that resolves the high C then?
By rhythmic flow in counterpoint it’s usually consider that the longer note value needs to be in a strong beat, the original one where B and D are in quarter note and B as a quarter stays in a strong beat then immediately has a leap to D, that’s not a good sign in here. It might be good on a piece of music, but remember we’re in counterpoint, and it has a much restrictive rule than just putting a random argument 2nd like any Mozart pieces. For the C, that C should just not be there, the G sharp and then the large leap creates a bump like he says in the video. Even with the interval between B and C with a major 2 and resolve into Major 6 (which you should, because 2 is dissonance and 6 is consonance), the C is just really like an extra and it just hangs there without any linear connection towards G sharp. How it can be fixed is if you just write a new counterpoint line with B instead of A like the video shows, but that’s a different story.
faye